Sentences with phrase «artist moved between»

Focusing on this era, the display demonstrates the remarkable ease with which the artist moved between fine and applied arts and approached varying subject matter from people to still life and landscapes.

In fact, over the course of his career, Carreño's aesthetics continually shifted as the artist experimented with current trends and shifting artistic environments as the artist moved between Havana, New York, Paris, and later Santiago de Chile.

In certain sets, such as Score for Sustained Blackness Set 2, the artist moves between bold black sweeps and lighter tones, guiding her nonexistent band through attempts to make a stand, fade into the background, crescendo whenever possible, and remain mindful of the past, only to fade out.

Playing together, the artists move between analogue synthesizers and spoken word, «interacting, communicating, contemplating, complementing each other through their instruments and intuitions».

These days, with almost every work an installation, artists move between two and three dimensions at the drop of a hat — or the click of a mouse.

Each repeats the same scene and is annotated with a brief caption and diagrammatic markings, but variations appear as the artist moves between a wide and focused view of the house, sometimes presenting both at once, thus combining differing eastern and western perspectival orthodoxies.

Within this undefined space, the artist moves between past and present, whilst adhering to a meticulous attention to details.

The artists move between different fields in terms of subject matter, focusing on transparency as it relates to communication, politics, contemporary history, economics, sociology and (marine --RRB- biology.

Not exact matches

And, in true artist - obsessive style, Grahm changes the packaging on the salted pretzel bars between each reprint, moving a palm tree slightly or editing the colors.

The lines blur between a Pygmalion / muse arrangement and something more intimate when Alma moves into the London townhouse, splitting her role as artist's model and girlfriend.

The film captures the dilemmas and inevitable consequences of ambition, observing the artist in both private and public settings, moving between uninhibited scenes of life at home, grueling rehearsals, and Bobbi Jene's revealing choreography.

But «The Disaster Artist» is really Franco's «Ed Wood,» a persuasively human chronicle of how the DIY cinematic catastrophe was borne out of the friendship between Wiseau and fellow frustrated actor Sestero, who meet in a San Francisco acting class and move to Los Angeles together with the shared dream of getting discovered.

That film would be «Man On Wire,» James Marsh's crisp, witty and ultimately very moving documentary about Philippe Petit, the charismatic French performance artist who in 1974 committed the so - called «artistic crime of the century» — an illegal tightrope walk between the Twin Towers of the New York's World Trade Center.

It was clear that the young artists saw no distinction between their online and off line lives — they move between the two seamlessly — with little evidence of the concerns, we as adults occasionally have.

From physical labor to headwork, to being in touch with oneself and back again... communication and idea exchange, intellect, emotion and conversation... breaking barriers, committing oneself, being involved... from being a man to being a woman, and moving in between... from being a child, to growing knowledgeable and returning to simplicity... from being free to being restricted, to being sovereign... from breaking out of restrictions in art to breaking out of restrictions in society... from being to art and it's all the same... being, artists, male, female, sculpture, painting, performance, all conjoined in a great motion.

9:45 — Melissa and Lisa talk about the difference between being a dilettante and an artist who moves through natural progressions in their art.

Moving between a graphic sensibility, an interest in creation myths and the use of found materials and detritus, the artists reference various classical tropes of blackness as sites of origin — fantastical and performed, important yet perhaps illusory.

MOVING TARGETS looks anew at relationships, influences, and two - way exchanges, between historic and contemporary American Artists.

But when it comes to her models, she has moved beyond the traditional relationship between artist and sitter, observer and observed.

Radiant Fields presents us with an artist who is capable of moving between painting languages — abstract Expressionism, geometric Abstraction, neo-geo — without being beholden to any of them.

Do Ho Suh: in between introduces the attempts of the artist in a global era in which economies and societies would come to a halt without the intersection of people, objects and information to explore the self and make the world a smaller place, while negotiating cultures of different origins and moving to and fro between tradition and innovation, individual and group.

Started in 2010 on the border of Ridgewood, Queens and Bushwick, Brooklyn, the gallery moved to its current location where they exhibit shows by both young and established artists, fostering a dialogue between generations and artist communities.

Jeremy Millar, who met with the artist to discuss the book, reflected, «One sees throughout Tillmans's work a longing that moves between engagement and retreat, a fascination for the crowd and all that comes from a shared experience, the «sensuous community,» but also those things which reveal themselves only when we find ourselves alone.

Moving between the real and imaginary, Stevi's works are often deeply personal, exploring the artist's desires and dreams.

Her current projects (in collaboration with Angel Nevarez, artist and MFA faculty member, School of Visual Arts, New York) investigate contemporary music, dissent, and public fora, while moving between the spatial simultaneity of performance and enunciation, and reflecting upon the projection of political agency through transmission and song.

Exquisite Corpse: Moving Image in Latin American and Asian Art embodies the exquisite corpse model as a curatorial framework between three institutions — Asia Society Museum, Mana Contemporary, and Smack Mellon — using video and new media work by contemporary artists who represent perspectives from across Latin America and Asia as the variable contributions.

Today, as governments and regulators around the world move to phase out the incandescent light bulb in favor of more ecologically efficient solutions, Burning, Bright will document and celebrate the partnership between the light bulb and the artists who distilled their own discoveries from the simplicity of its form and the revolutionary power of its function.

Because the wall captions, though fully descriptive of each new phase, don't explain the evolution of Stella's ideas, you move among his abruptly demarcated styles as between different artists, rather than following a single artist's succession of thoughts.

Sarah Hughes is a British artist, composer and performer, producing work that explores the boundaries of interdisciplinary practice, often moving between sculpture, installation, composition and music.

In this performance, contemporary artist Jumana Emil Abboud invites audiences to move in and between spaces in a newly commissioned live art piece inspired by Palestinian folklore.

The girl, possessed of a preternatural cool and moving with the slow, deliberate gestures of a robot from the uncanny valley, explains that, for whatever reason, the artists decided to bring her to life, and she asks members of the audience to explain what it's like to be human (posing stumpers like, «What is the relationship between a sign and melancholia?»).

Shot on several of the Museum's floors, the videos reveal the artist as she moves and dances alone through the building, camouflaging herself in the empty gallery spaces during the transition period between exhibitions.

He also starts to look prescient now that artists move so easily between art and science or geometry and goo.

In an uncharacteristic move, the artist reveals something of herself, and points out the gap between self - portraiture and narcissistic selfie snapping.

Like few other artists she moves freely between painting, sculpture and installations, between art and design, and between East and West.

Among the highlights of its first eight years are: Bernd Alois Zimmermann's harrowing Die Soldaten, in which the audience moved «through the music;» the unprecedented six - week residency of the Royal Shakespeare Company in their own theater rebuilt in the drill hall; a massive digital sound and video environment by Ryoji Ikeda; a sprawling gauzy, multi-sensory labyrinth created by Ernesto Neto; the event of a thread, a site - specific installation by Ann Hamilton; the final performances of the Merce Cunningham Dance Company across three separate stages; the New York Philharmonic performing Karlheinz Stockhausen's sonic masterpiece Gruppen with three orchestras surrounding the audience; WS by Paul McCarthy, a monumental installation of fantasy, excess, and dystopia; a sonic environment that blurred the boundaries between artist and audience created by the xx; an immersive Macbeth set in a Scottish heath and henge by Rob Ashford and Kenneth Branagh; tears become... streams become..., a genre - defying collaboration between artist Douglas Gordon and pianist Hélène Grimaud, which flooded the Armory's drill hall with an installation of water, light, and music; and HABEAS CORPUS, a performance and installation by Laurie Anderson based on the story of a former Guantanamo Bay detainee that examines lost identity, memory, and the resiliency of the human body and spirit.

It brings together leading avant - garde composers of the early postwar period such as Elliot Carter, Pierre Boulez and Karlheinz Stockhausen; pioneers of electroacoustic music such as François Bayle, Pauline Oliveros, Iannis Xenakis and Peter Zinovieff; minimalist and Fluxus - inspired artist - musicians such as Tony Conrad, Henry Flynt, Phil Niblock, Yoko Ono, Steve Reich and Terry Riley; and figures that have moved between classical / experimental realms and more pop terrain, such as Brian Eno, Kraftwerk, Howie B., Arto Lindsay and Caetano Veloso.

Presented by Art Basel in collaboration with Kaserne Basel, L.A Dance Project will perform Merce Cunningham's «Winterbranch» (1964), an early piece Cunningham created together with Robert Rauschenberg (concept, costumes, lighting design, accessories) and La Monte Young (music); and «Moving Parts» (2012), a collaboration between dancer and choreographer Benjamin Millepied and artist Christopher Wool.

Throughout his career, Bannard moved between the poles of Expressionism and Color Field Painting, resulting in a body of art that has constantly evolved as the artist forthrightly faced the situations that his art presented, reacting to them with rigor and intuition.

The works of Patrick Nichols, official photographer for the Dream Warriors, European tour, move between commercial and conceptual, as his images continually interweave hip hop artists into a variety of settings.

Playing the role of alchemist, each artist in Between Spaces will recast familiar materials and objects such as wood, paint, mirrors, moving blankets, Plexi - glass, Venetian blinds, and metal grating to make the ordinary strange.

Etel Adnan (b. 1925 in Beirut, Lebanon, and lives between California and France) is an award - winning author, playwright, poet, and visual artist, who, in the tradition of the Dadaists and Surrealists, moves fluidly between writing and art making.

While Juliana Huxtable's genre - and gender - defying practice moves fluidly between performance, poetry, pop music, and photography; it's no wonder that the artist has become a figurehead for a millennial, internet - savvy generation that celebrates gender and identity nonconformism.

The texts she draws upon — ranging from Nina Simone and Maya Angelou to Phillip Larkin — often direct the artist's medium, which has been known to include deeply evocative moving image work which oscillates between the private and the collective.

A central theme of the Gallery's exhibition is the increasing mobility of the art world as a result of new modes of transportation including jet aviation and the interstate highway system during the late 1950s and 1960s, when artists, dealers, and works of art moved more swiftly between the coasts and Europe and with increasing regularity.

P420 GALLERY This gallery from Bologna, Italy, devotes its booth entirely to Irma Blank's gorgeous «Eigenschriften» (or «Self - Writings») series, made between 1968 and 1973 in Siracusa, Sicily, where this German - born artist moved in the 1950s.

from now through march 18th, the artist presents a body of work that draws from his nomadic life, first leaving his native south korea to study in the united states, and more recently moving between new york, seoul and london.

Objectify, a group exhibition of international artists, presents work that defies categorization and moves in a space between painting and sculpture, image and object.

The paintings in this exhibition are brought to life with the artist's masterful use of color and continual shift of perception, moving between the margins of the literal and the abstract.

SCREEN COMPOSITIONS 14 curated by Katherine Liberovskaya For the 14th year, Screen Compositions brings you, as every time, a collection of intersections of moving image with sonic art; a program of screen works representing dynamic two - way collaborations between video / film artists and sound / music artists specifically intended for single - channel projection with no live or performance component: «Parachora», 2009 by Milosz Luczynski -LSB-...]